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132 REFIGURATION OF IDENTITIES AND FUTURES IN TIMES OF TRANSFORMATIONreal power lies elsewhere.If the setting suggests a power vacuum, everything fromhere onwards in the film, with its concentration onAidit and his plotters, stains their actions as originatingby association from the palace.The final scene shows Nasution’s injured youngestdaughter lying alone in her cot-like hospital bed, theyoungest victim, recalling Sukarno lying alone in hisbed from the opening scene, except here she comesafter images of the people in national mourning. Thenation’s hopes and dreams lies in the balance betweenlife and death, in the fragile body of a little girl, but if, asthe scene in front of her father’s painting suggests, she isnot a pejuang or warrior, it is precisely because her timewill come at the end of the film where death will be thebintang (star) that confirms her status as a pejuang.The nation spaceSpace constructed in binary oppositions allows fora unity under realist representation and seamlesslinear temporality as logical conclusions and closure,articulating spatial continuities towards a horizon ofthe ideal, of mythic homeland and future struggles aseternal. The presence of bodies within these spaces thatsignify a fullness and plenitude points to an absence of“other,” bodies, lives, and alternatives in social, politicaland cultural existences in other spaces consigned tothe edges of the map, from the abandoned hut in thecountryside to the cardboard shelters in urban areas.Where directors choose to depict and present landscapein their films, they do so by signaling the “condition ofpossibility” for the “masculine production of landscapeand its practices of feminine enclosure” (Sipe 2004,92).The narrating of the nation and its ideology mapsout its struggles in public spaces, where duty, honorand sacrifice take precedent, denying the private andthe personal, which turns space into place. Individualstruggles are firmly located within the larger contextof the nation, the revolution and public life as epicspectacle, where actions and dialogues play out theirtropes for national consciousness.Land needs markers to turn space into place, albeit stillwithin the larger agenda of nationalist public sites. It isfor this reason, too, that Connie’s father’s grave cannotbe contained within a Javanese landscape but is givena europeanised backdrop, lest the lines of patriarchalorigination are confused for Javanese ones so that otherdeaths can find and sow their seeds of meaning andmetaphor as historical markers of blood and sacrificefor nationalist soil. It is no accident that the first imageof the start of the soldiers’ march across Java begins atBorobodur in a long ontological line, from the executionof the treacherous father by the dutiful son, to thegravesites of Adam and Widya of their union in death,to the grave of Lubang Buaya and the aftermath of itsreaping in the mass missing graveyards of thousandsacross the Indonesian landscape.As has been discussed in this paper, this binary inthe divisions of rural and urban landscapes, betweeninteriors and exteriors, sets the scenario for futurestruggles, from nationalism to militarism, that findtheir conclusion in the exercise of power and controlof the nation’s domain in the struggle for the interiordomestic spaces in G30S.Where paintings in Darah are utilized to referenceand demarcate land and territory as significations fordivisions in ideological struggle as spatial constructs, inG30S paintings specifically signal the limits of spatialencounters as conditions in the organization of gender,hierarchy and power.Two particular scenes and sequences articulate theway in which gender contains and defines space, inthe way that landscape politics or, for our purposes,space and its management can show “how masculineforms of landscape… have produced the corollary offeminine enclosure, whether symbolic, social, physicalor architectural” and in the way they frame “their accessto space, that either expand or exceed the confines of thedomestic sphere,” and help actively shape “a range ofcultural, national and institutional spaces and, perhapsmost consequentially, the more spatially diverse andfluid spheres of intellectual” (Sipe 2004, 92) and culturalthought and in what ways they produce meaning andcontribute to national ideological agenda.In the opening sequences of G30S, where Sukarnolies bedridden attended by Aidit and the CommunistChinese doctors, in ten to eleven shot sequences, theleaving and entering of each frame shows paintingsof clothed and half clad Javanese women in various“feminine” poses on the walls, as well as naked femininebusts and statues in shots where Sukarno is reading athis desk.As mentioned earlier, the palace symbolizes the heartof the nation, the body politic is ailing, and power isbeing drained while Aidit and the communists areintroducing foreign elements into Sukarno’s bodyvia acupuncture, so that draining is a consequenceAsian Transformations in ActionThe Work of the 2006/2007 API Fellows